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Phlegmatic Category:Self Discovery For Music Artists (Part Six)

In the ongoing personal development series we examined the structure of self discovery in respect to music artists in part one , in part two we addressed the limitations and excesses associateed with the music artist, in the sanguine category, followed with a palliative we received from a guest writer while observing a break in part three   in part four we addressed cocontrolling excesses and meeting limitations in the choleric category, in Part five we analyzed the melancholy. In this session we are treating same issue as addressed in other temperaments but in the phlegmatic category.

A Phlegmatic Music Artist.m

 Controlling Excesses And Meeting Limitations (Phlegmatic ).

The phlegmatic artists generally have a slow approach towards every music strategy. Basically they are least in self motivation and are usually at the receiving end of what others felt could be appropriate for them. 

They are reserved in nature and find it difficult to share thoughts, believes, convictions and  controversial approach no-matter how good or important it could be to any music project.

Phlegmatics, their vibes are in short supply in music delivery and they are eventually influenced into taking suport-substances in order to enhance their performance level.

They'll comfortably remain in one record label for life rather than lunch one for themselves. They thrive in steady but low energy genre and can contribute creatively in this regard during collaborations if allowed to work in their pase.

They usually have a high sense of humor and could keep everyone in a lengthy laughter, especially when a recording session is freezed at the technical end.

Ways To Overcome Limitations Of The Phlegmatic Artists.

The Downside Of A Phlegmatic Music Artist 

 It's worthy to note that phlegmatics are in short supply in the music industry, especially as performing artists. That's why artists from other temperaments becomes dumbfounded in every experience they have with them due to their unpopular music culture.

Taking the limitation of the phlegmatic into consideration which begins with inability to have self motivation towards a music project, and extends to the rest as stated earlier. All of the limitations inhibits productivity in any given project.

A music project, let's say an album which is a collection of singles perhaps other collaborative works, is mostly the consistent and finished work of the artist at the singles level. 

To be successful in music to this extent requires a great deal of self motivation, influence and smartness. The deficiency of these factors in phlegmatics makes them stay longer than necessary on music projects and render them as odd human beings many a time within the music community.

Having a critical understanding of the nature of a phlegmatic artist, it's certain that-that kind of outburst of enthusiasm as a result of being inspired to begin to conceive, freestyle or demonstrate other patterns towards contributing to a music project. Which in many cases fastrack the music process may never happen to a phlegmatic artist. Therefore the kind of motivation needed by the phlegmatic artist is the one based on a music habit-model.

The model is a construct designed to meet the needs of the phlegmatic. Its bases is gotten from the work of Dean Bokhari where he used it as an approach to enable someone gain motivation.

I describe the music habit-model as a methodology deployed to mentally position a low energy artist or unmotivated artist at a level where he increases in lyrics, vocal prowes and music composition by learning new routine. 

The model has five modules as illustrated bellow:

1. Identify The Habit:

In this module the artist does something, which is to recognize the pattern of music composition that works for him either cognitive  or intuitive. He Marks out time within days of the week when he endolge in them. He can give it thirty minutes daily but if it takes him beyond hours he can proceed.

2. Identify Your CUE:

Every musical process or activity especially composition has a trigger. Identify one that regularly works for you.It might be playing musical instruments,  rehearsing one of your hits or listening to your all time favourite. This places you at a level where you begin to think through doing a remix for your favourite, or testing out the right tune for an existing project.

3. Identify the REWARD:

Identify these two levels of rewards and endeavor to experience them. 
The first form of reward worthy of consideration is the sense of success and fulfilment that one experiences, having done something which contributes to your career. It has a way of inducing that feel-good, confedence and inspiring sensation in the artist. 
Secondly endeavor to have a superior entity that rewards hardwork as a friend or confidant. Update your progress and have the picture of this reward while on every task as you wouldn't want to let him down.

4. Invest and document it. 

Invest in the routine by purchasing devices that'll aid the overall practice, such as: mini video-camera, camera tripod-cramp, microphones, speakers, etc. Committing financially to the process pricks your attention when your eyes turn to the devices and related accessories especially on the day you want to miss the routine, which is a vital part of the motivation-process.

5. Execute the ROUTINE:

Practice the modules 1,2 and 3 everyday. No need for a fixed time. Best way to achieve it is taking a decision to consistently execute it before breakfast, it prepares you to continue after breakfast. 

As we are rounding up-on self discovery for Music Artists, we would be carrying out a review of the series to determine the extent of its impact thereby adjusting and extending accordingly, this will be conveyed through our next post. Do share your thoughts at the comment section.

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